Sleater-Kinney emerged from the noisy art school scene in Olympia, Washington and reinvented what it meant to be an all-girl band. They called it quits following the release of 2006’s The Woods, but they’re back with a new tour and a fresh batch of beautifully jagged tracks called No Cities To Love. It’s a near-perfect album, the first great record of 2015, full of solid grounding in the band’s past and urgent nudging toward the future—an ideal attitude to carry into New York City’s Other Music, where Corin Tucker, Carrie Brownstein, and Janet Weiss dug through the racks to reveal the inspiration behind their hot rock. READ FULL STORY
Tag: Television (1-10 of 425)
What’s a good movie trailer without a killer song to drive home all the explosions and aggressive make-out scenes? Molly Simms and Isabella Biedenharn tracked down the music in the new crop of previews—so you don’t have to.
Fifty Shades of Grey
Fancy businessman Jamie Dornan wants schoolgirl Dakota Johnson to taste the naughty rainbow. But there’s another lady in his dungeon: Beyoncé and her woozy, atmospheric “Haunted.”
Find the song: On 2013’s BEYONCÉ. READ FULL STORY
Even if you don’t know recognize Hozier by name, you may have already run across “Take Me To Church,” the soulful ballad that showed up in a key moment during HBO’s The Leftovers and comes pre-approved by Revenge, Arrow, and The Fault In Our Stars music supervisor Season Kent. The track steadily climbed up the Irish singles chart last fall, then made its first impact in America after Hozier performed it on The Late Show With David Letterman in the spring. It currently sits at 62 on the Billboard Hot 100, has over 13 million views on YouTube, and promises to leap even further into the consciousness thanks to his appearance on Saturday Night Live this weekend. Not bad for a song cut in a cramped storage space.
Tonight’s premiere of the new season of The Voice features two familiar faces and two newcomers. Adam Levine and Blake Shelton are back once again, but they’ll be joined by first-time coaches Pharrell Williams and Gwen Stefani. The latter two are both new to singing competitions, and it’ll be interesting to see what kind of personalities emerge as the blind auditions roll on.
But neither Stefani nor Williams should look to their left for advice, Shelton tells EW: “I didn’t tell them crap,” Shelton said, laughing. “That’s my competition. We do these interviews, and Adam will get mad at me because I won’t help them. This is a competition, and my job is to try to win this thing. When I started on this show, nobody helped me!”
WKRP in Cincinnati‘s defining qualities were a cast of wacky characters, an atmosphere of free-floating late-’70s psychic malaise (that on its better episodes the show sharpened to a cutting point), and, more than anything else, by its music. Fittingly for a show about a radio station of the time, the soundtrack included everything from the Grateful Dead to the Cars, often highlighting the culture clash between hippie-era dinosaurs and the leaner New Wave acts that were springing up in response to those dinosaurs’ refusal to exit the pop zeitgeist.
Thanks to the way music licensing contracts were written at the time, the show lost its rights to use the original versions of the songs it had so deeply woven into its fabric, and was forced to replace them with generic knockoffs while it was still in broadcast syndication. Later, when it moved to cable and home video it did so with the same soundalikes.
On Oct. 28, Shout! Factory will release the first complete series-spanning WKRP DVD set, with its original soundtrack gloriously restored. (Orders through the Shout! Factory site get early delivery on Sept. 23.) The 13-disc set will include not only new bonus features (including a 2014 panel discussion with members of the cast and crew), but actual songs by a staggeringly broad range of artists including Captain Beefheart, Elvis Costello, the Rolling Stones, Luther Vandross, Ray Charles, the Sir Douglas Quintet, and Huey Lewis & the News. Somewhere in sitcom heaven Johnny Fever and Venus Flytrap are exchanging cool ’70s-hipster handshakes.
The most important movie soundtrack this year was undoubtedly the top-shelf compilation put together by Season Kent for The Fault In Our Stars, and not just because it gave us Charli XCX’s inimitable “Boom Clap.” Kent has quickly become one of the go-to names in music supervision, and though she’s working on more and more film projects (she just got started working on the Magic Mike sequel), she has primarily made her bones on television.
This season, she returns to both Arrow and Revenge, and adds the brand new Arrow spin-off The Flash to her portfolio. In an effort to give our Shazam apps a rest during the forthcoming TV season, we asked Kent to make us a playlist of songs that we’ll eventually be hearing under our favorite dramatic moments and montages. Check out her picks and listen to the Spotify playlist below.
For the second season premiere of his reality show, Mac Miller and the Most Dope Family, the unlikely chart-topping MC (and co-star of Ariana Grande’s ’90s-throwback hit “The Way”) brings his crew on a trip to Ireland as the opening act for Lil Wayne’s tour. Miller uses the excursion as an opportunity to get in touch with his Irish roots, which seems to involve a lot of yelling at the country’s rolling green hills and drinking a bunch of Irish whiskey. After a few Jamesons at a local pub, he decides to sit in with the house band to explore a trad-folk side that his records probably haven’t prepared you for.
The new season starts tonight at 11:30 ET on MTV2.
Grey’s Anatomy‘s tenth season has been about experimenting: Surgeons experimenting with new trials, Karev experimenting with a new practice, and even music supervisors experimenting with new music.
Following in the show’s recent trend of having artists cover classic 1980s songs for its soundtrack, this week’s big episode, which will feature the return of Isaiah Washington’s Dr. Preston Burke, will include a brand new-version of Madonna’s iconic 1984 hit “Like a Virgin” — performed by acclaimed singer-songwriter Amos Lee (Mission Bell, last year’s Mountains Of Sorrow, Rivers Of Song).
We’ve got the exclusive stream of the song. Listen below:
Carrying on the great tradition of Alicia Keys, Christina Aguilera, Kathy Lee Gifford, and the Grambling University Band, Renee Fleming will take on the task of providing bookies with another prop bet by singing “The Star-Spangled Banner” at Super Bowl XLVIII on Sunday, February 2.
Fleming is an acclaimed opera singer who has picked up four Grammys over the course of her career and is probably best known outside of the classical world as one of the voices on the soundtrack to The Lord of the Rings: The Return of the King and for her odd (but not unpleasant) collection of indie rock covers from a few years ago. (She also sang the theme song to the 2012 animated disaster Rise of the Guardians.) She’s undoubtedly one of the most competently trained singers to take on the National Anthem at the Super Bowl in some time—it’s a challenging song that has derailed all kinds of performers, especially on big stages.
The addition of Fleming completes the circle of music performers at this year’s Super Bowl, with Bruno Mars and the Red Hot Chili Peppers handling the halftime show. U2 will also reportedly have some sort of presence during the course of the broadcast, most likely in the form of an ad in support of their new single “Invisible” and/or their upcoming new album. And Prince will be appearing on a special episode of New Girl that is airing right after the game.
The job of Super Bowl National Anthem singer is tough, because usually the best you can hope for is to be pleasantly forgettable. Nobody wants to mess it up, but at the same time, it would be difficult to top Whitney Houston’s rendition of “The Star-Spangled Banner” before Super Bowl XXV in 1991, which is one of the greatest music moments in all of television history.
Who is your favorite Super Bowl National Anthem singer?
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